Q&A with Tomred Theatre

This September, Tomred Theatre is bringing two competition-winning short plays to the Wanstead Fringe Festival: Beyond This Place - a dark dystopian fable, and Window of Opportunity - a surrealist comedy exploring the ways in which objects can steer human action. The two plays offer very different theatrical worlds, moving from a tense landscape to something much more absurd. 

In what ways does Beyond This Place explore the traditional trope of ‘dystopia’ and how did you go about crafting this world? What was it about this particular premiseyou wanted to explore and why now?

Hi. I’m Dermot Dolan. Producer & writer of both plays.

Beyond This place explores dystopia on a more intimate scale, exploring suppression of personal thought & memory via tactile interaction with religious artefacts within a  sterile claustrophobic environment  .

The kernel of the idea came to me while  travelling  in In India in 2015,  surrounded by  religious imagery , I wanted to explore what happens when  regime tries to strip away human identity by banning  inner  spiritual life .

Beyond This Place was short listed in a new writing competition and was performed in Milton Keynes as part of ‘Real Ale & Drama shots 3 ‘ programme in 2015 by the Carabosse Theatre Company and again in 2019 in the curated selection.  

Staging now seems relevant in a world where there is increased focus on censorship, free speech and individual  conscience.

 Window of Opportunity takes a much more surreal and comic approach - exploring how ‘objects can influence and steer human behaviour. Where did this idea stem from?

 Inertia, procrastination & indecision have been  creative interests and explored in some of my previous works. I wanted to see  how a mysterious object could paralyze human action. For me, the surreal comedy comes from their inability    to move forward revealing shifting power statuses as they overthink their next move? It will be interesting see the Co-Directorsinterpretations!

Window of Opportunity won a winter audio competition in 2016 and was produced by the Wireless Theatre Company , but it has never been performed on a physical stage.

 The two pieces seem to occupy very different theatrical worlds. What do you think they have in common beneath the surface and how do they work alongside one another?

Writers’ perspective (Dermot Dolan)

Beneath the surface the common thread  is how humans interact with powerful  impact  objects. The first play uses sacred contraband to explore suppression of thought . The second play uses a mysterious object to show the absurd side of human behaviour  when  nothing moves forward.    

The first is dark and the second ,for me, is lighter and surreal.  They both serve as mirrors to human behaviour and how they handle pressure & strain? But I have given  the directors total creative freedom to interpret these worlds.

Directors’ perspective : (Rob Widdicombe & Yasmine Angeni)

The two pieces occupy different spaces; an external space in Window and an internal space in Beyond.

However, they both are driven by characters who are trying to find a way towards a relationship with their world. The objects present both a catalyst for change and a challenge to overcome habitual behaviours.

We have interpreted Beyond as an internal struggle for one character looking at the ways in which we can oppress ourselves, whereas Window looks at the power struggles between three characters, in the face of their own inertia when confronted with a potentially life-changing experience, represented by the object. The humour and absurdity arise from characterisation.

What are the particular challenges and opportunities of running two plays back-to-backin one evening? 

We are in agreement that the challenge has been the tight technical time line, as dress , tech run and first performance all happen on the same day. As the two plays have completely different technical requirements, we’ll be programming a short break between them which we hope will give the audience time to adjust to the different style of each play..and grab a drink! 

Is there something about a short-form play that allows you to take risks that might be harder to sustain in a full-length production?

I think short form play allows you to focus on an idea without the need to worry too much about side stories. In Beyond This Place  the audience are introduced instantly into a tense environment without having to explain too much.  In  Window of Opportunity the absurd can be sustained with the surreal situation of an absent object.  So in a long play format, these ideas could become tiresome? In a short form they remain tight and direct?

What has the rehearsal and development process been like for these two very differentpieces? Have the plays changed at all since they originally won their competitions?

I’ll hand you over to the directors as I have chosen not to interfere with their creative processes.

(Directors perspective:

We have not seen or heard any previous production of either play and therefore we came to this production with completely open minds. Our interest was to create two pieces that were driven by interesting and well-developed characters and we encouraged the actors to have a lot of creative input. While some aspects of rehearsing the two plays have been similar, Beyond This Place has also drawn on film making skills. 

One challenge has been arranging rehearsal schedules for two plays that respect that all participants also have day jobs.

We decided at the outset that we’d be using Michael Chekhov’s approach to acting to inform the work.

Have you discovered anything about yourselves as theatre-makers through developing Beyond This Place and Window of Opportunity? 

I have discovered I am completely relaxed about letting go of control. Some writers e are highly possessive of their scripts, but I genuinely enjoy giving directors free rein..and the odd tweak!

I am excited to see what the directors and cast  will bring to the stage. I am happy to take the risk and see my words interpreted through fresh creative eyes.

Directors’ perspective:

That we like a challenge, that every production is an opportunity to learn something new and develop new skills, and that there is always “mission creep”! 

What’s next in store for these plays? And what do you wish for the future of Tomred Theatre?

Right now the immediate focus is simply getting people through the door at the Wanstead fringe. Independent theatre is a big challenge for a sole producer, and the cast and directors are putting in a huge amount of work. A successful run and a good review here may dictate where we go next.!

As for Tomred Theatre, I have a back catalogue of short plays & one full length script collecting dust on the shelf- a personal piece delving into my Irish heritage. Funding & producing fringe theatre independently comes with  financial   headaches., so the future of that project is something to ponder. For now, my big wish is for packed audiences, great local feedback and a successful week at the Bull!  

Finally, what drew you to the Wanstead Fringe, and what appeals to you about bringing these two plays to a local Fringe audience? What do you think a Fringe setting can offer a piece of theatre that a more traditional venue sometimes can't?

Living nearby in Walthamstow, I attended two Wanstead Fringe shows last year- including one at the Bull Upstairs-and was impressed by the standard of work& the dedication of the volunteers juggling the festival alongside full-time jobs. As a sole producer, the accessible venue hire cost made it financially appealing to brink my work here.

I think a pop-up fringe setting is its intimacy and immediacy (but challenging for Directors & cast!) Unlike a formal theatre , it creates a relaxed accessible atmosphere and potentially  introduces new theatregoers to independent writing. We also  get to connect with a supportive local community which champions indie theatre right on their doorstep.